A delicate hand coils itself up, cautiously, from the bottom of the image towards the heart of the action, the pinky finger gracefully raised to the side. It penetrates a storm of references and activates a chronology in which the mental and physical space between today and tomorrow gets out of sync. The hands of the clock dance frantically across eyes, ears, and mouths, overwriting past events and blurring future ones. Nele, no, no! Enclosed in the topos of refusal, the negation implies a pause, a standstill. It is able to stop time and then restart it. 
The constructed origin of these temporal interactions is located in a 40.000 year old cave in the south of France - when a human being with pigment in their mouth blew a negative image of their hand onto a rock wall. We were there and missed each other. What we are left with are „graphics as ornaments as sculptures“.

In investing in graphic forms I wilfully alienated my work more and more from the self-sufficiency suggested by the three dimensional sculptural autonomous artwork. Seeking to reidentify sculpture in two dimensions, I restrict myself to formats destined to be of use, to transport information, to be visually idiomatic. 
The potentially forces of the ornament, as Ernst Bloch suggested in his 1918 tract „The Spirit of Utopia“, represent for me the unpredictability of the directions that opens up once the form breaks from its rational function. This break is what I want to investigate further: in my desire to free myself from an a-political understanding of sculpture I want to reidentify myself sculpturally within the surroundings offered by the graphic and ask: what socio-political, regional and folkloristic power can be extracted from the ornament? 
In the reciprocal interaction of the temporal and regional structures of my person and the viewer, the two-dimensional space of the graphic rises from its flatness and opens up a social and public space: a sculptural demonstration of ornaments of my local self-location and its incoherence.